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Benjamin Rowe 99 - The Essential Skills of Magick

Benjamin Rowe 99 - The Essential Skills of Magick

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Published by: CAMIPETRE on Sep 09, 2010
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The Essential Skills of Magick
Benjamin RoweCopyright 1999
The Three Essential Skills
All effective magick stands on three legs:
; everything else – all the words and gestures, the implements and cos-tumes, the elaborate circles and furniture – serve only to reinforce and focusthese three capacities. If any of these three is lacking, then the work is likely to fail; once you are skilled in using all three, you can dispense with practi-cally all the other things people sometimes insist are essential to the practice.Of the three,
is the power that drives the whole show; emotionfrom the guts, and from the heart. I will go even further; it is not just emo-tion, but
that is the power behind magick. Passion in the sense of anintense desire to be connected to that which you are seeking to invoke; adesire that places no restrictions or limits on the connection, but which is soone-pointed that nothing save that which is sought is included within itsfocus. And passion in the sense of a boundless enthusiasm for the acts by which you seek to create that connection. Admittedly, this is the ideal case;but the closer you can get to it, even for a few moments, the more likely yourwork is to be successful.This passion-for-connection is what creates the
magickal link
betweenthe magician and that which he is invoking; or, if the link already exists,expands it and strengthens it. The emotion literally creates a channel orumbilicus between them, through which energy and knowledge can flow ineither direction. The stronger the emotion, the stronger the link becomes;the less energy is lost in side-thoughts and distractions, the stronger the linkbecomes. Thus a one-pointed focus is most desireable.But conversely, restrictions the magician places on the connectionbecome constrictions in the link, reducing the potential flow of powerthrough it. If a magician insists that a spiritual force or being manifest itself in a specific way, then it is less likely to appear, or the manifestation with beweaker. But if his desire for connection is
, then a response ismuch more likely, and will be more powerful when it comes. Similarly, if amagician doing a ritual to obtain money desires that money to appear in theform of a cashier’s check, he is less likely to obtain it than if he was willing toaccept it in any form.In its highest form, this unconditional passion becomes almost indistin-guishable from what is called “Divine Love”, which is the closest that one cancome (within the worlds of manifestation) to the transcendental state of theMother aspect of divinity. Passion-for-connection transforms into a state of pure
, pure Love, in which all distinctions are erased; both the
nature of the magician and the nature of that being invoked disappear,totally lost in the link between them.
provides the medium (rather, an opening to the medium)through which magick produces its results. The personal imagination seemsto blend seamlessly into the astral light, the larger magickal universe; thepoint at which one becomes the other is impossible to define clearly. An
object that begins as a purely internal construct – created and sustained by the imagination of a magician, propelled by the power of emotion – canmove out into the astral light and take on a life independent of its creator. Itcan gather or become a container for magickal power, and act back on itscreator (or on others) in ways that are impossible for him to producethrough his imagination alone. Conversely, beings and powers operating onlevels the magician cannot yet perceive can make themselves known to thehim through his receptive imagination, opening his awareness into newrealms of experience.The symbols used in magick are forms that, when created in the imagi-nation, tend to gather specific types of power from the astral light, which arefurther limited by the intent of the magician. The shape of the container, ineffect, determines what can be put into it; the simpler, rigidly geometricforms (such as the pentagram and hexagram) draw relatively pure, funda-mental forces; complex symbols – e.g., god-forms – draw correspondingly complex assemblages of forces.When the magician projects the image of a symbol onto his sur-roundings, an extended magickal space is created in which the astral lightbecomes conditioned into conformity with the symbol. The area becomesmore attractive to the types of power invoked, more comfortable for mag-ickal beings having the nature represented by the symbol. The world of thepowers and the world of the magician then intersect, making interactionpossible.(A detailed series of practices for developing the imagination and cre-ating a general-purpose magickal space can be found in my article
 A Short Course in Scrying 
. This present paper is aimed towards showing by examplehow it is used in formal rituals.)
is the third leg of the tripod, and the final key to success inmagick. In order to bring into being the conditions you desire, you must cre-ate in yourself the sensations and feelings that the things you have createdthrough your imagination are real, and that
the goal of the operation hasalready been accomplished
. In the magickal universe, when you act with all your being as if something is already real, it becomes real. This feeling of 

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